I have written an op-ed in the Daily Telegraph this morning discussing the issues raised by the current employment tribunal case in Cardiff, where an oboist at Welsh National Opera is claiming he was ‘victimised’ and ‘bullied’ by the conductor, Carlo Rizzi.

What goes on in an orchestra’s rehearsal room can never be resolved by law and logic, least of all my musical merit. Chemistry, temperature and body language are essential elements in the making and maintenance of a good orchestra. When they fail, something’s got to give and someone’s got to go. The trick is to do it decently. The fault in Wales seems to be that they tried to do it too much by the book.

Once it gets to court, everyone looks stupid. Here’s the latest local BBC report.

And here’s my piece: http://www.telegraph.co.uk/comment/8065562/The-maestro-must-never-play-second-fiddle.html

A verdict is expected later today and I’ll report it here.

I have written an op-ed in the Daily Telegraph this morning discussing the issues raised by the current employment tribunal case in Cardiff, where an oboist at Welsh National Opera is claiming he was ‘victimised’ and ‘bullied’ by the conductor, Carlo Rizzi.

What goes on in an orchestra’s rehearsal room can never be resolved by law and logic, least of all my musical merit. Chemistry, temperature and body language are essential elements in the making and maintenance of a good orchestra. When they fail, something’s got to give and someone’s got to go. The trick is to do it decently. The fault in Wales seems to be that they tried to do it too much by the book.

Once it gets to court, everyone looks stupid. Here’s the latest local BBC report.

And here’s my piece: http://www.telegraph.co.uk/comment/8065562/The-maestro-must-never-play-second-fiddle.html

A verdict is expected later today and I’ll report it here.

More than 20 years after German reunification, the emblematic Universal-owned yellow label is finally being transferred from Hamburg to Berlin, it was announced today.

The move has been fiercely resisted by label diehards and was accomplished only after the removal of the universally unpopular Universal president of classical and jazz, Chris Roberts.

Contrary to heavy Hamburg rumours all week long, Universal has officially confirmed that DG will remain under the presidency of Roberts’s trusted placeman, Michael Lang. See also here.

So at least they are left with half a Lang, the other half having fled to Sony.

——————————-

And here’s the corporate press release, hot off the machine:

Embargoed until October 14^th, 12:45 pm (11:45 am London time)

Classical music leader Deutsche Grammophon relocates to Berlin

Berlin/Hamburg, 14 October 2010 – Deutsche Grammophon, the world’s leading classical music company, is moving from Hamburg to Berlin.  This follows the earlier relocation of its parent company, Universal Music Germany, in 2002.

In future, Deutsche Grammophon will operate as an autonomous label from Universal Music’s German headquarters in the Osthafen district of Berlin. The move will take place in the summer of 2011. The news was announced today (14) by Frank Briegmann, President, Universal Music Germany, Austria, Switzerland and Deutsche Grammophon, and by Deutsche Grammophon President Michael Lang.

Frank Briegmann has been leading Universal Music Germany for the past six years, and in July 2010 added responsibility for Universal Music’s companies in Austria and Switzerland, and for the worldwide operations of Deutsche Grammophon.

“For more than a century of its remarkable history, the right balance between innovation and tradition has been one of the key factors in Deutsche Grammophon’s continued success”, said  Mr. Briegmann.  “The calibre of such artists as Anne-Sophie Mutter, Gustavo Dudamel, Hélène Grimaud and Hilary Hahn – as well as newly signed names such as Alice Sara Ott, Miloš Karadagli? and Mojca Erdmann – and their recordings will always be the company’s heart and soul. 

 “By bringing Deutsche Grammophon to Berlin, we are facilitating even closer cooperation within our business, and securing the future success of the most renowned and established classical label in the world.  As he has for many years, Michael Lang will continue to be operationally responsible for Deutsche Grammophon, upholding the standards of excellence for which it is celebrated, and maintaining the continuity of our relationships with artists and business partners alike.  Apart from that, this move strengthens Berlin as a centre of gravity for music, and particularly for classical music.”

Mr. Briegmann continued, “Target audiences are changing. Innovative strategies in marketing and distribution are becoming increasingly important and new types of artists require fresh thinking and action, for example, pop superstar Sting is accompanied by the London Symphony Orchestra, star violinist David Garrett, whose roots are in classical music, releases ‘Rock Symphonies’, opera tenor Rolando Villazón newly interprets Mexican folk music, and Anna Netrebko becomes a household name beyond the traditional audience for classical music.”

Deutsche Grammophon was founded in Hanover in 1898 by brothers Emile and Joseph Berliner, making it the oldest point of origin of the Universal Music Group, the world’s leading music company.  In Hamburg, Deutsche Grammophon has been based for more than 50 years. The label is the unchallenged leader in classical music, with 80% of its revenue generated abroad, mostly in the US, Japan and France.

Deutsche Grammophon is known for an uncompromising attitude to quality and an innovative approach to marketing.  Its roster has always featured the most celebrated and influential artists in classical music, among them:  Claudio Abbado, Leonard Bernstein, Rafal Blechacz, Enrico Caruso, Gustavo Dudamel, Dietrich Fischer-Dieskau, Elina Garanca, Hélène Grimaud, Hilary Hahn, Daniel Hope, Herbert von Karajan, Wilhelm Kempff, Anne-Sophie Mutter, Anna Netrebko, Maurizio Pollini, Thomas Quasthoff and Rolando Villazón.

Apart from its artists and music, Deutsche Grammophon can look back on a remarkable technological history.  Co-founder Emile Berliner is regarded as one of the inventors of the gramophone and the gramophone record.  Since that breakthrough, the company has continued to innovate:  releasing the first double-sided record, producing the first complete recording of an orchestral work in 1913 (Ludwig van Beethoven’s Fifth Symphony, played by the Berlin Philharmonic and conducted by Arthur Nikisch), recording only on magnetic tape from 1946, starting the first industrial CD production in 1982, releasing laser discs and becoming the first classical label to sell recordings through its own online web shop.

More than 20 years after German reunification, the emblematic Universal-owned yellow label is finally being transferred from Hamburg to Berlin, it was announced today.

The move has been fiercely resisted by label diehards and was accomplished only after the removal of the universally unpopular Universal president of classical and jazz, Chris Roberts.

Contrary to heavy Hamburg rumours all week long, Universal has officially confirmed that DG will remain under the presidency of Roberts’s trusted placeman, Michael Lang. See also here.

So at least they are left with half a Lang, the other half having fled to Sony.

——————————-

And here’s the corporate press release, hot off the machine:

Embargoed until October 14^th, 12:45 pm (11:45 am London time)

Classical music leader Deutsche Grammophon relocates to Berlin

Berlin/Hamburg, 14 October 2010 – Deutsche Grammophon, the world’s leading classical music company, is moving from Hamburg to Berlin.  This follows the earlier relocation of its parent company, Universal Music Germany, in 2002.

In future, Deutsche Grammophon will operate as an autonomous label from Universal Music’s German headquarters in the Osthafen district of Berlin. The move will take place in the summer of 2011. The news was announced today (14) by Frank Briegmann, President, Universal Music Germany, Austria, Switzerland and Deutsche Grammophon, and by Deutsche Grammophon President Michael Lang.

Frank Briegmann has been leading Universal Music Germany for the past six years, and in July 2010 added responsibility for Universal Music’s companies in Austria and Switzerland, and for the worldwide operations of Deutsche Grammophon.

“For more than a century of its remarkable history, the right balance between innovation and tradition has been one of the key factors in Deutsche Grammophon’s continued success”, said  Mr. Briegmann.  “The calibre of such artists as Anne-Sophie Mutter, Gustavo Dudamel, Hélène Grimaud and Hilary Hahn – as well as newly signed names such as Alice Sara Ott, Miloš Karadagli? and Mojca Erdmann – and their recordings will always be the company’s heart and soul. 

 “By bringing Deutsche Grammophon to Berlin, we are facilitating even closer cooperation within our business, and securing the future success of the most renowned and established classical label in the world.  As he has for many years, Michael Lang will continue to be operationally responsible for Deutsche Grammophon, upholding the standards of excellence for which it is celebrated, and maintaining the continuity of our relationships with artists and business partners alike.  Apart from that, this move strengthens Berlin as a centre of gravity for music, and particularly for classical music.”

Mr. Briegmann continued, “Target audiences are changing. Innovative strategies in marketing and distribution are becoming increasingly important and new types of artists require fresh thinking and action, for example, pop superstar Sting is accompanied by the London Symphony Orchestra, star violinist David Garrett, whose roots are in classical music, releases ‘Rock Symphonies’, opera tenor Rolando Villazón newly interprets Mexican folk music, and Anna Netrebko becomes a household name beyond the traditional audience for classical music.”

Deutsche Grammophon was founded in Hanover in 1898 by brothers Emile and Joseph Berliner, making it the oldest point of origin of the Universal Music Group, the world’s leading music company.  In Hamburg, Deutsche Grammophon has been based for more than 50 years. The label is the unchallenged leader in classical music, with 80% of its revenue generated abroad, mostly in the US, Japan and France.

Deutsche Grammophon is known for an uncompromising attitude to quality and an innovative approach to marketing.  Its roster has always featured the most celebrated and influential artists in classical music, among them:  Claudio Abbado, Leonard Bernstein, Rafal Blechacz, Enrico Caruso, Gustavo Dudamel, Dietrich Fischer-Dieskau, Elina Garanca, Hélène Grimaud, Hilary Hahn, Daniel Hope, Herbert von Karajan, Wilhelm Kempff, Anne-Sophie Mutter, Anna Netrebko, Maurizio Pollini, Thomas Quasthoff and Rolando Villazón.

Apart from its artists and music, Deutsche Grammophon can look back on a remarkable technological history.  Co-founder Emile Berliner is regarded as one of the inventors of the gramophone and the gramophone record.  Since that breakthrough, the company has continued to innovate:  releasing the first double-sided record, producing the first complete recording of an orchestral work in 1913 (Ludwig van Beethoven’s Fifth Symphony, played by the Berlin Philharmonic and conducted by Arthur Nikisch), recording only on magnetic tape from 1946, starting the first industrial CD production in 1982, releasing laser discs and becoming the first classical label to sell recordings through its own online web shop.

I am speaking tonight at the Battle of Ideas on television’s last-ever water-cooler moment, the regimented talent contest known as the X Factor.

Like most of the population, I have watched a few minutes of it and formed a view. Knowing the music business as I do, it is fairly easy to see through the pretence of ‘people’s winners’ and musical democracy to the cynical mass production of cash-till jingles. Nothing wrong with that.

One can also see how the show actively perverts the common urge to sing well, encouraging contestants to an excess of vibrato and approximated notes.

But the most disturbing X factor for me in the whole phenomenon is the show’s similarity to that other form of adult entertainment, the one known as pornographic movies (of which I have also watched a few minutes, very few). On the X Factor we see a simulation of musical activity, fixed smiles and an absence of emotion. All the moves are choreographed and the noises produced to order. It doesn’t take very long and the end is always the same.

Where on earth did Simon Cowell get his idea from?

Tonight’s debate is at the Royal College of Music at 7pm. Here’s the link:

http://www.battleofideas.org.uk/index.php/2010/session_detail/4370/

I am speaking tonight at the Battle of Ideas on television’s last-ever water-cooler moment, the regimented talent contest known as the X Factor.

Like most of the population, I have watched a few minutes of it and formed a view. Knowing the music business as I do, it is fairly easy to see through the pretence of ‘people’s winners’ and musical democracy to the cynical mass production of cash-till jingles. Nothing wrong with that.

One can also see how the show actively perverts the common urge to sing well, encouraging contestants to an excess of vibrato and approximated notes.

But the most disturbing X factor for me in the whole phenomenon is the show’s similarity to that other form of adult entertainment, the one known as pornographic movies (of which I have also watched a few minutes, very few). On the X Factor we see a simulation of musical activity, fixed smiles and an absence of emotion. All the moves are choreographed and the noises produced to order. It doesn’t take very long and the end is always the same.

Where on earth did Simon Cowell get his idea from?

Tonight’s debate is at the Royal College of Music at 7pm. Here’s the link:

http://www.battleofideas.org.uk/index.php/2010/session_detail/4370/

He would have been 75 today.

Nice to know Big Lucy’s duetting it up there once more with Dame Joan.

(With Solti conducting?)

He would have been 75 today.

Nice to know Big Lucy’s duetting it up there once more with Dame Joan.

(With Solti conducting?)

The BBC’s flagship Ten O’clock News had nine hours yesterday to prepare a tribute to the ‘voice of the century’ and disgraced itself on every count.

The report was fronted by the Beeb’s geek-spectacled arts/news editor, Will Gompertz, a former Tate staffer whose lack of interest in the performing arts has been evident from day one. Gompertz apparently spent most of his day preparing a report on the new Ai Wei Wei installation at – guess where? – the Tate. Old loyalties die hard.

The report Gompertz cobbled together for the Ten O’Clock was perfunctory. It showed the Sydney house where Joan Sutherland was born, her mum, an interview clip and curt comments from director John Copley and the English soprano Leslie Garrett, whose foot has never trodden on the world stages commanded by Dame Joan. Credit for the diva’s success was given only to her husband, Richard Bonynge.

No mention was made of Covent Garden’s David Webster, who nurtured her for eight years, of Franco Zeffirelli who directed her breakthrough production, of Rafael Kubelik who cast her as Lucia or of Luciano Pavarotti, who stood mute and unidentified beside her in a closing clip and who was her careerlong stage partner. Gompertz wound up his report with the assessment that she was ‘a remarkable human being’.

She was, of course, nothing of the sort. Joan was a very ordinary woman of no great intellect or genral interests whose single soaring attribute was a voice to die for, the most powerful coloratura we are ever likely to hear.

When a journalist writes off a subject as ‘a remarkable human being’, any editor will know that the hack has failed to research the subject and lacks the verbal agility to disguise that ignorance. Will Gompertz shamed the dead diva and the BBC by his deficiency.

The fault was not his alone. The editor of the Ten, knowing the Gomp was busy and bored by opera, should have assigned another reporter – perhaps the deposed Razia Iqbal, who is floating around the department without a defined role. Or called in an expert from Radio 3. Or done something to make sure that the news had authority.

Gomp’s appointment last year was an institutional failure of nerve. Now the BBC is cutting executive costs, sacking its deputy DG, this might be a good time to drop the imported Gomp and reinforce core values.

Dame Joan Sutherland was a universal legend, born in Australia, made in England and adored the world over. BBC News marked her passing shabbily, skimpily, ignorantly and with wanton lack of imagination.

Dame Joan Sutherland, the dominant opera soprano after Maria Callas, died during the night of October 11, 2010 at her home at Les Avents, near Montreux, Switzerland, her family have announced. She was a month short of her 84th birthday.

An overnight star in 1959, when she stormed the mad scene in Franco Zefirelli’s production of Lucia di Lammermoor, the Australian was steered by her conductor husband Richard Bonynge ever deeper into the bel canto repertory of Rossini, Bellini and Donizetti and away from direct comparison with Callas in the big heartbreak roles of Verdi and Puccini.

The power couple adopted a callow Italian tenor, Luciano Pavarotti, and took him on tour in their home country, an education for which he was eternally grateful. Together, ‘Lucy and Joan’ formed a dream team on Decca Records. Her diction was indistinct and her dynamic control imperfect, but Sutherland conveyed a stage grandeur that overcame any minor shortcomings and the power of her voice was unforgettable. Both of these merits she acquired by watching Kirsten Flagstad during her 1950s Covent Garden apprenticeship, where her other mentor was the Czech conductor, Rafael Kubelik.

A simple, friendly woman, happiest in a dressing room with a magazine and her knitting, she avoided tantrums, had no airs and graces and, in retirement, shunned the limelight. She received a dewy-eyed biography from Norma Major, wife of a British prime minister, and dictated an autobiography of total concealment and ineffable blandness.

For all her unassuming personal modesty, her voice defined an operatic era.

Dame Joan Sutherland, the dominant opera soprano after Maria Callas, died during the night of October 11, 2010 at her home at Les Avents, near Montreux, Switzerland, her family have announced. She was a month short of her 84th birthday.

An overnight star in 1959, when she stormed the mad scene in Franco Zefirelli’s production of Lucia di Lammermoor, the Australian was steered by her conductor husband Richard Bonynge ever deeper into the bel canto repertory of Rossini, Bellini and Donizetti and away from direct comparison with Callas in the big heartbreak roles of Verdi and Puccini.

The power couple adopted a callow Italian tenor, Luciano Pavarotti, and took him on tour in their home country, an education for which he was eternally grateful. Together, ‘Lucy and Joan’ formed a dream team on Decca Records. Her diction was indistinct and her dynamic control imperfect, but Sutherland conveyed a stage grandeur that overcame any minor shortcomings and the power of her voice was unforgettable. Both of these merits she acquired by watching Kirsten Flagstad during her 1950s Covent Garden apprenticeship, where her other mentor was the Czech conductor, Rafael Kubelik.

A simple, friendly woman, happiest in a dressing room with a magazine and her knitting, she avoided tantrums, had no airs and graces and, in retirement, shunned the limelight. She received a dewy-eyed biography from Norma Major, wife of a British prime minister, and dictated an autobiography of total concealment and ineffable blandness.

For all her unassuming personal modesty, her voice defined an operatic era.

Deutsche Grammophon has posted a happy birthday page for the Chinese pianist, Yundi Li.

http://www.deutschegrammophon.com/artist/biography?ART_ID=LIYUN

Have they forgotten they fired him last year, at Lang Lang’s insistence? Only for Lang Lang then to walk out on them and join Sony on a $3 million handshake.

Does no-one in these giant corporations talk to one another?

Yundi, by the way, is now with EMI.

 (picture credit: DG)